A Fairy Ballet


Book Description

When the Weather Fairies are asked to dance for the King and Queen, they create and perform a ballet about the weather.




Bethany the Ballet Fairy (The Dance Fairies #1)


Book Description

Can Rachel and Kirsty help the Dance Fairies get their grooves back?The Dance Fairies' magic ribbons are missing! Without them, all kinds of dances are getting off on the wrong foot. Everyone is miserable, except for Jack Frost and his goblins. They have the ribbons . . . and it's up to Rachel and Kirsty to get them back!Beautiful ballets everywhere are turning into a total mess. Can Bethany the Ballet Fairy track down her ribbon? Or will the goblins dance away with it?Find the magic ribbon in each book, and help keep the Dance Fairies on their toes!




Delphie and the Fairy Godmother (Magic Ballerina, Book 5)


Book Description

Prima Ballerina Darcey Bussell takes you on a captivating journey to a faraway land of ballet and magic, the wonderful world of Enchantia! The sixth of sparkly new series for all young girls who dream of being a ballerina, or simply love to dance!




Dogs Don't Do Ballet


Book Description

Celebrating ten Biff-tastic years of this hilarious story about a small dog with a big personality and even bigger dreams! Meet Biff, an adorable little puppy who will stop at nothing to become a ballet dancer. My dog is not like other dogs. He doesn't do dog stuff like weeing on lampposts or scratching his fleas, or drinking out of the toilet. No, my dog likes moonlight and music and walking on his tiptoes. You see, my dog doesn't think he's a dog. My dog thinks he's a ballerina! A fabulous feel-good book about a small dog with a big personality and even bigger dreams. This super-shiny 10th anniversary edition of this much-loved modern classic includes two brand-new pages showing what Biff has been up to since we saw him last! Also by Anna Kemp and Sara Ogilvie: The Worst Princess Sir Lilypad Rhinos Don't Eat Pancakes Dave the Lonely Monster




The Crab Ballet


Book Description

When the tide is out, the curtain is up on this clever tale of an underwater, watercolor ballet featuring dancing crabs and all of their aquatic friends from children’s book author and poet Renée LaTulippe and illustrator Cécile Metzger. “Beautiful, original, entertaining.”—Midwest Book Review Welcome. Enter. Sit right there. The Crab Ballet is about to begin! This spectacular seaside show, starring dancing crabs, an aquatic corps de ballet, and a cast of French ballet terms, is sure to delight ballet dancers of all stripes.




Raven Girl


Book Description

A postman who encounters a fledgling raven while on the edge of his route decides to bring her home. The unlikely couple falls in love and conceives a child--an extraordinary raven girl trapped in a human body. Betwixt and between, she reluctantly grows into a young woman, until one day she meets an unorthodox doctor who is willing to change her.




Tasha the Tap Dance Fairy


Book Description

Rachel and Kirsty must help Tasha, the tap dance fairy, find her magic ribbon so that the tap dancers can perform their routine at the college's open house.




The Victorian Press and the Fairy Tale


Book Description

This book offers a new history of the fairy tale, revealing the creative role of periodical publication in shaping this popular genre. Sumpter explores the fairy tale's reinvention for (and by) diverse readerships in unexpected contexts, including debates over evolution, colonialism, socialism, gender and sexuality and decadence.




Fairground Attractions


Book Description

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. The study investigates the cultural production of the visual iconography of popular pleasure grounds from the eighteenth century pleasure garden to the contemporary theme park. Deborah Philips identifies the literary genres, including fairy tale, gothic horror, Egyptiana and the Western which are common to carnival sites, tracing their historical transition across a range of media to become familiar icons of popular culture.Though the bricolage of narratives and imagery found in the contemporary leisure zone has been read by many as emblematic of postmodern culture, the author argues that the clash of genres and stories is less a consequence of postmodern pastiche than it is the result of a history and popular tradition of conventionalised iconography.




Dance Pathologies


Book Description

A history of dance’s pathologization may startle readers who find in dance performance grace, discipline, geometry, poetry, and the body’s transcendence of itself. Exploring dance’s historical links to the medical and scientific connotations of a “pathology,” this book asks what has subtended the idealization of dance in the West. It investigates the nineteenth-century response, in the intersections of dance, literature, and medicine, to the complex and long-standing connections between illness, madness, poetry, and performance. In the nineteenth century, medicine becomes a major cultural index to measure the body’s meanings. As a particularly performative form of madness, nineteenth-century hysteria preserved the traditional connection to dance in medical descriptions of “choreas.” In its withholding of speech and its use of body code, dance, like hysteria, functions as a form of symptomatic expression. Yet by working like a symptom, dance performance can also be read as a commentary on symptomatology and as a condition of possibility for such alternative approaches to mental illness as psychoanalysis. By redeeming as art what is “lost” in hysteria, dance expresses non-hysterically what only hysteria had been able to express: the somatic translation of idea, the physicalization of meaning. Medicine’s discovery of “idea” manifesting itself in the body in mental illness strikingly parallels a literary fascination with the ability of nineteenth-century dance to manifest “idea,” suggesting that the evolution of medical thinking about mind-body relations as they malfunction in madness, as well as changes in the cultural reception of danced representations of these relations, might be paradigmatic shifts caused by the same cultural factors: concern about the body as a site of meaning and about vision as a theater of knowledge.